the groundhog day project

When I was looking up information on the USC Shoah Foundation yesterday , I happened upon an interview with Steven Spielberg from USA Today with a (mis?)quotation as its title-- 'This is what I was put on earth to do' - Steven Spielberg Maybe he said that to the interviewer, but the only line I can find in the actual text of the interview that is similar to that is this (with a little context): When young people come up to me and instead of saying they liked my last movie, they say, "My grandparents gave testimony [to the foundation] in 1995." Hearing that make me feel I was put on this earth to make a difference, not just in the lives of movies audiences. The testimonies help others hear stories that are not easy to tell or listen to. I'm not going to talk about the holocaust again today, or the whole poetry after Auschwitz thing. Let's leave Adorno behind, maybe even leave Everything Is Illuminated behind for the most part. Today is Day 729 of this ...

That Jonathan looks like his grandfather and (middle) namesake is not just a coincidence, or a cinematic convenience. That workers at the airport at the end of the film look like characters Jonathan has met on his rigid search is also not merely a coincidence, nor a cinematic joke. (I'm not even sure that it's a coincidence that both of Foer's novels involve an old Jewish man who was close to two young women when he was younger; when Lista says her mother thought Safran should marry Augustine because she was older, it reminded me very much of Anna and her sister in Extremely Loud and Incredibly Close . Both of the primary plots are driven by objects, as well--the photograph in Everything Is Illuminated , the key in Extremely Loud and Incredibly Close , but I don't think I'm dealing in objects today.) These people look alike because this story is universalizing. It seems a part of the human condition that we want to know where we come from, and that's vital ...

Opening shot: close up on amber. Gradually, as the camera moves, we see that there's something in the amber. It's a cricket, or a grasshopper. This bit of amber, from a necklace Augustine wore (in the film version of the story) and presumably gave to Safran, was the first thing--or so it is implied--that Jonathan collected . He took it from the bedside table by his grandfather's deathbed. The thing about a bug in amber--and it's an ant in the book, not a cricket or grasshopper or whatever insect that is from the order Orthoptera--is that it is like time standing still, a remnant of the past. (And, if Hollywood (or Michael Crichton, anyway) can be believed, we can get dinosaurs out of them.) I assumed until I saw a couple people online calling is a cricket that the insect in amber in the movie was a grasshopper. Considering Grandfather's attention, a few times, to the moon, I appreciated the grasshopper's link to the wax and wane of the moon via Japanese tra...

It's strange that Jonathan Safran Foer (Elijah Wood) is almost a cypher in his own story. He drives the plot, sure but he is not really changed by anything here... well, not very much. There is, arguably a change in that at the end of the film he not only makes a bag for someone else (Grandfather) but also empties his own bag of dirt from Trachimbrod onto his own grandfather's grave. (We don't actually see this happen, but the film cuts from the dirt in Jonathan's hand to dirt in Alex's hand at Grandfather's funeral, implying that Jonathan will let that dirt go.) He changes enough to give up an item from his collection to connect these two men. (To be fair, we have no particular reason other than presumption to think he has not given up an item before.) The emotional beats in the story belong to Alex (Eugene Hutz) and Grandfather (Boris Leskin) and Lista (Laryssa Lauret). (Considering one of the deleted scenes, in which it seems that Sammy Davis, Junior, Juni...

Where was I? Adorno, perhaps. This: "writing poetry after Auschwitz is barbaric." Which isn't what he said. Not really. Brian Oard, in his Mindful Pleasures blog, points out that this quotation is "always taken out of context and rarely footnoted." Hell, I quoted it indirectly from a study guide that has no clear author and which did not identify the specific source for the quotation. Fortunately, Adorno is well enough known among those who know him--he's come up, for me, in my undergraduate history program and my graduate communication program--so a quick google search and I've found more specific reference. The line is from a 1949 essay, "Cultural Criticism and Society." In a bit more context (from an English translation of the collection Prisms ): The more total society becomes, the greater the reification of the mind and the more paradoxical its effort to escape reification on its own. Even the most extreme consciousness of doom threa...

The thing about Everything Is Illuminated is it suggests--at the same time, mind you--that it's never too late to get over your past and your past will always catch up to you. If The Grey was purgatory , this is somehow both heaven and hell... or maybe just another form of purgatory... or maybe just life. The movie returns us to the idea that life is just stories , the what we choose to remember-- how we choose to remember it--matters more than the reality. Stories change over time. So do memories. Each return of a memory is affected by the previous one--that was a detail in the latest Pixar movie, Inside Out that I rather liked, in fact; positive memories turn negative, joy turns sad... and vice versa, I suppose. Bittersweet is introduced. Everything Is Illuminated is based on Jonathan Safran Foer's first published novel. It is, of course, about a young man named Jonathan Safran Foer going to the Ukraine in search of family history, specifically, the woman in a photo...

The weekend that Everything Is Illuminated was released was apparently in the midst of a dry spell for movie viewing for me. Serenity would be out two weeks later, Good Night, and Good Luck the week after that. The Constant Gardener was two weeks earlier. Everything Is Illuminated was #45 at the box office its opening weekend but, to be fair, it was only on 6 screens. And, I didn't even see it in the theater. I watched it on DVD months later. The 40-Year-Old-Virgin was #4 in its 5th weekend. I would see it on DVD. The Constant Gardener was #7. I had seen it a couple weekends earlier. Red Eye was #8. Saw that one its opening weekend, four weeks earlier. Wedding Crashers was #9. I would see that on DVD. Same with March of the Penguins at #10, Charlie and the Chocolate Factory at #16, The Skeleton Key at #18 (hated that movie), and Broken Flowers at #19. Batman Begins was #25 in its 14th weekend. Saw that one opening weekend. More that I wouldn't see until DVD: Fant...